Writing

Introductions

1. I1 Why I created a bridge between two worlds · Design
2. I2 Bol Processor · Course
3. I3 SuperCollider · Course
4. I4 Introduction to MIDI · Course
5. I5 MusicXML · Course

Formal languages

1. L0 The Map of Formalisms · Reference
2. L1 Chomsky Hierarchy Explained Simply · Course
3. L2 Context-Free Grammars · Course
4. L3 EBNF · Course
5. L4 What is an AST? · Course
6. L5 The Three Semantics · Course
7. L6 SOS for Dummies · Course
8. L7 Denotational Semantics · Course
9. L8 Axiomatic Semantics · Course
10. L9 Beyond Chomsky · Course
11. L10 Attribute Grammars · Course
12. L11 Beyond the Three Semantics · Course
13. L12 Petri Nets and Process Algebras · Course
14. L13 Generate or Recognize · Research
15. L14 The Direction of Parsing · Research
16. L15 The Formulas of Asymmetry · Research
17. L16 The Paradox of Bidirectionality · Research
18. L17 The Complexity Matrix · Research
19. L18 The Sign Reversal: Why Generation Isn't Always Easier Than Parsing · Research
20. L19 The P-chain: How Prediction and Production Drive Language · Research
21. L20 Inference · Research
22. L21 The Economy of Laziness and the Ecological Oracle · Research

Music and formalisms

1. M1 MIDI under the Formal Microscope · Course
2. M2 MusicXML Under the Formal Microscope · Course
3. M3 The Paradigms of Musical Representation · Course
4. M4 Generative Grammars and Music · Course
5. M5 Polymetry · Course
6. M6 Hierarchical structure in music · Course
7. M7 The Landscape of Formal Music Languages · Reference
8. M12 From structure to sound · Design

The BP3 language

1. B1 PCFG · Course
2. B2 Alphabets, Terminals, and Non-Terminals in Formal Grammars · Course
3. B3 Derivation Rules: Essential Strategies for Musical Grammars · Course
4. B4 Flags and Decremental Weights · Course
5. B5 Polymetry and Temporal Structures: Exploring Musical Grammars · Course
6. B6 Homomorphisms, Variables, and Context in Formal Grammars · Course
7. B7 From BP3 to SuperCollider: Converting Grammars into Patterns · Design
8. B8 Two Directions, Three Modes · Course
9. B9 Time-objects · Course
10. B10 The EBNF of BP3 · Reference
11. B11 The AST of BP3: Structure, Invariants, and Music Mapping · Reference
12. B12 The Three Concepts of Time in BP3: From Boulez to Algorithms · Research
13. B13 PolyMake: How to Solve Complex Polymetric Formulas in BP3 · Course

BPscript

1. S1 BPscript · Design
2. S2 Three words and twenty-four symbols · Course
3. S3 Types, actors, and bindings · Design
4. S4 The Backticks · Design
5. S5 Structuring Time · Course
6. S6 Composing with Conditions · Course
7. S7 The Shared Moment · Course
8. S8 Patterns, captures and templates · Course
9. S9 The Six-Layer Pitch System · Design
10. S10 Under the Hood: The Complete BPscript Technical Pipeline · Design
11. S11 Live: Modifying and editing code while the music is playing · Design
12. S12 BPscript EBNF: Formal Structure and Syntax Specification · Reference
13. S13 The BPscript AST: Understanding Nodes and BP3 Translation · Reference
14. S14 Sounds, Specs, and Effects: Mastering Sound Parameters · Design
15. S15 Transposition Beyond Equal Temperament: Moving Past 12-TET · Notebook

Standalone

• Glossary of Formal Languages & Compilation · Reference